M u s I c   C o m p o s I t I o n s   I n v o l v I n g   T h e a t r e   a n d / o r   t h e   D a n c e
THE GATHERING     (1967;  Instrumental Septet: with long-stemmed red-rose in mouth of Violist; 4'40)
SOCRATES ON THE DIVINATION OF SWANS     (1967-68; published by Carl Fischer, Inc., New York NY:1969;  text of ancient sources;
in remembrance of a moment spent sharing an oyster with a friend..; Oratorio: Narrator as Socrates, Mezzo-Soprano, Two Contraltos
and Orchestra; minimal stage-set & lights; 20'00)
THE GOLD-BUG     (1968; commissioned by the Astoria High School Concert Band, Astoria OR; text of Edgar Allan Poe; 
Ballet Suite for Concert Band; in 6 mvts; cluster of dancers, stage-set & lights; 14'00)
KALEIDOSCOPE     (1968-69; dedicated to Vladimir Ussachevsky; Two Triple-Quartet Instrumental Groups [24 Players] and 12-Track
Electronic-Tape: [all sound-material transferred onto one 4-Track Tape for future performances, with or without dancers];
sound-material presented only: in near-darkness, white-light on floor center-stage throughout; optional dancers: full-stage crowd of un-
synchronized dancers clad in un-matching multi-coloured extravagantly-gaudy attire, and scattering about constantly in near-darkness
with tiny stationary white-light on floor center-stage throughout; 18'00)
THE CAGE     (1969; dedicated to Alexander Goehr; Improvisational-Clarinet Solo [Bb&Eb] and Large Instrumental Ensemble; optional lights;
13'00)
SONNET 29     (1969; published by Carl Fischer, Inc., New York NY:1979; text of William Shakespeare; Baritone Reader and Large Instrumental
Ensemble: optional yet preferred male-character: in period-costume/tights lying decoratively-still in posed-position upon floor facing
audience stage-front at audience-right, holding mandolin; optional lights; 5'10)
THE REVELATION OF ST. JOHN THE DIVINE:  A MULTI-MEDIA MASQUE IN 7 ACTS
[An Enactment Of The Transformation Of Ioannes The Initiate]
(1969-70; commissioned by William Powell, clarinetist; text of ancient sources; Live-Performer as Initiate and 4-Track Electronic-Tape:
with 19 Dancers, Mixed Chorus, Musicians, Rock Ensemble; [all electronic sound-material put onto one 2-Track Tape for rehearsal-
purposes]; film-visuals, stage-set & extensive lighting; 38'00)
A VISION OF THE ETHEREAL COSMOS     (1970; 2-Track Electronic-Tape Environment: optional performers: choice(s) of improvisational- 
musician(s), dancer(s) and/or poetry-reader(s); stage-set and/or lights; 23'00)
OPHELIA:  A POETIC DRAMA     (1970; commissioned by The Journey Of Dreams & Co., Ottawa Canada;  text of William Shakespeare;
1 Live Female-Performer, 7 Speaking-Characters and 4-Track Electronic-Tape: [all vocal/electronic sound-material mixed onto one
2-Track Tape for performance-purposes]; a delicately-gentle female-performer in period-attire slowly & gracefully meandering all about;
3 non-moveable hanging-costumes of Laertes & Polonius stage-right and Hamlet alone stage-left, each of 3 costumes hung by two
very thick ugly coarse ropes, at shoulders; moving film-visuals, stage-set & lights; 25'00)
PLAYSONGS FOR NIGHT-CHILDREN     (1971; 2-Track Electronic-Tape Environment: for Play by New York Playwright Joseph Scott; 60'00)
LA SALON     (1971; 2-Track Electronic-Tape Environment: for Play by New York Playwright Aldo Guinta; 60'00)
THE SACRED MOUNTAIN     (1971; Suite of Nine Pieces for Pianissimo String Orchestra: optional yet preferred 9 Muses: 9 female-dancers
in 9 differently-coloured pastel-hued flowing gowns, all moving gracefully in a slow-motion visual-tapestry in front of and within
orchestra-proper; optional lights; 23'00)
THE LIPS OF A STRANGE WOMAN DROP HONEY     (1975; text of the bible; Oratorio: Female Dancer/Performer, Vocal and Instrumental
Soloists, Boy Choir & Basso Profundo Choir, Organ and Percussion; a lavishly-elegant stage-set & lights; 30'00)
MIMOSA PUDICA     (1976; 'Touch Me Not'; dedicated to John David; Dance Quintet: Dancer in Green [as a plant] and Four Instruments
mandatory green spot-light on dancer only, whose two-feet remain fixed in stationary-position on floor throughout; 10'00)
FRAGRANCES     (1976; published by Carl Fischer, Inc., New York NY:1979; commissioned by Esther Fuerte-Wajman, pianist; dedicated to
The MacDowell Colony; subliminal-text of ancient sources; Piano and Orchestra, with Alto Flute sub-solo: optional 2 conductors;
optional yet preferred stage-set: piano at front-stage center with keyboard facing audience directly, and lit-up; one live large long-tailed
beautiful & noisy white-bird, sheltered within a very large & ornate white birdcage hanging high-above and to the left of piano; lights;
23'00)
THE SIBYL, IN CONTEMPLATION     (1976; commissioned by The Music Project Contemporary Ensemble of New York NY; text of Homeric
Greek language ca.4000 B.C.; A Mystic Poem: Mezzo-Soprano [with crotalum in A] and Piano Octet; optional yet preferred stage-set:
incense, period-set & lights; 11'00)
FLEUR DE LYS:  A CHORAL FANTASY     (1976; 'Flower of Light'; commissioned by The Sweet Briar Concert Choir of Sweet Briar College VA;
in memory of Daisy Williams of Sweet Briar; for the 75th Anniversary of the College; dedicated to The Virginia Center for the Creative
Arts in Sweet Briar; Choir of Women [in 3 parts] and Concert Organ, with Soprano Solo and Instrumental-Trio of Cello, Harp &
Percussion: minimal stage-set & lights; 30'00)
THE CRYING OF WATER     (1976; dedicated to Frankie Mann; text of Arthur Symons; Three Soprano Vocalists, Violin-Obbligato, and
Baritone Reader: lights; 3'00)
HER DRIFTING FROM ME THESE DAYS     (1976; published by Experimental Arts Society of Utrecht, The Netherlands:1976-77; dedicated to
Harmohan Singh; text of Harmohan Singh; Vocal Sextet: High-Baritone Voice, solo Viola, and Percussion; optional lights; 6'10)
THE BRONZE     (1976-77; a visual and audio collaboration of American Sculptor Rhoda Sherbell Honig and Composer Kathleen St. John;
2-Track Electronic-Tape Environment: for an Elegant Garden-Presentation of Original Life-Sized Bronze Sculpture-Pieces of
Prominent Americans dispersed amongst the lovely greenery, with sweet-sounds flowing in the air!: Rhoda's grande vision!; 
equi-distantly scattered exterior-lighting all around sculpture-pieces, in soft-colors!; 20'00)
SONG OF A WEEPING HERON,  ON THE DEATH OF A NIGHTINGALE     (1977; commissioned by The Music Project of New York NY;
dedicated to Daniel Berlinghoff; text of Thomas Randolph; Oboe Solo, Quartet of Strings, Wind Trio and Harp: optional spot-light on
flautist only; 14'00)
THE DELIRIOUS CAITANYA     (1977; inspired by a huge painting of Sri Caitanya hanging upon the tall walls of The Hare Krsna Temple in
Amsterdam, The Netherlands; with appreciation to The Virginia Center for the Creative Arts in Sweet Briar; special dedication to Mervin,
Rhoda, and SueSue Honig of Westbury NY; dedicated to Julia; score to be presented to The Hare Krsna Temple, Bethanienstraat 39,
Amsterdam, The Netherlands; Large Orchestra, with 22 Devotees of Lord Krsna: optional yet preferred extensive stage-set: 2 huge
metallic-gold sculptured oriental-eyes, placed behind orchestra-proper and extending beyond same at both ends; each eye being 16'
in length with a 4' space between the two; the orchestral-score itself - being 16' in length, centrally-hung by thin wires above and
in front of orchestra-proper for conductor to work from while gradually moving left to right as music progresses; the entire visual-
setting, seen at a distance by the audience - is the Divine Head of Lord Krsna; lights; 16'00)
ISADORA:  DAUGHTER OF THE SUN     (1977; commissioned by The Music Project Repertory Chamber Ensemble of New York NY;
dedicated to the memory of dancer Isadora Duncan; text from "Isadora" of Rhoda Sherbell Honig;  Dithyrambos: in 13 mvts; Large
Instrumental Ensemble of Winds, Strings and Percussion, with Soprano-Obbligato, stationary Chorus Of The Deities, Array of
Musicians, Lyric-Dancers, Bacchic-ritual Dancers, and Visible-Sculpture; lights; 20'00)
DISGUISED     (1977; 'Chrysanthemum'; dedicated to Mel Powell; A Musical Composition for 21 Players, with Saron Solo: optional delicate
improvisational-dancer(s) & subtle lights; 8'12)
ARCANA:  THE REINCARNATION OF OSIRIS     (1978; commissioned by California Institute of the Arts Dance Choreographer Patricia Gage;
Ballet: Main Female-Dancer Solo and 2-Track Tape Environment of Large Percussion Ensemble, Woodwind Solos, and Voices of
Beings; [all instrumental/vocal sound-material played & recorded onto one 2-Track Tape for rehearsal & performance-purposes];
extensive stage-set & lights; 16'40)
HARLEQUIN     (1978; dedicated to William Powell; text of F. le Rousseau's "Chacoon for Harlequin" [1733], British Museum; 
Instrumental-Trio of Bb Clarinet, Viola and Harp, with Percussion-accompaniment [and 4 balloons!]; optional lights; 10'00)
INNERMISSION     (1978; for John Fitzgerald, percussionist; Percussion Quartet: Improvisational-Percussion Solo, Oboe, Cello and String Bass;
[recorded 2-Track performance-tape for future dance-presentations]; optional slow-motion dancer(s) & lights; 13'00)
AN INSCRIPTION ON SMENKHARE'S COFFIN?     (1978; for Kaaren Marie Herr, soprano;  text of ancient sources; Vocal Sextet: in 3 mvts;
Lyric-Soprano, String Trio and Percussion; optional lights; 14'00)
AYRE AND DIALOGUE ON AN HOURE-GLASSE     (1980; for Robert Fernandez, percussionist; text of John Hall; Vocal Trio of Soprano [with
small triangle], Marimba, Cello and Person in Black [with bass drum]; optional lights; 16'00)
HIGHNOON AT PEACE ROCK     (1980; A Ballet Meditation for Instrumental Quartet: with 12 beings, monolithic-structure & lights; 3'00)
MEDITATION, HYMNE, AND DANCE OF REPOSE     (1980; Instrumental Quartet: with dancers & lights; 5'00)
HARVEST     (1980; Instrumental Quintet: with dancers [min.2] & lights; 6'00)
ADAM AND EVE     (1980; Piano Solo: with 2 dancers [male & female], minimal stage-set & lights; 3'45)
THE DIAMOND     (1980; Duo for Improvisational-Percussion & Improvisational-Piano: [recorded 2-Track premiere-reading tape for future 
dance-presentations]; with multiple dancers & lights; 2'00)
QUARTET OF A PROPHECY     (1980; dedicated to Arthur Cohn; text of ancient sources; String Quartet, with Soprano-Obbligato gracefully
wandering about: in 9 epic mvts; minimal lights; 36'00)
FRAILE LIFE!     (1981; written for/dedicated to the Antennae Repairmen of CalArts; A Cycle of Seven Comic Pieces for Percussion-Trio:
optional lights; 12'00 or entire concert-length program)
L'ETOILE     (1985; 'The Star'; for Brenda Schuman-Post, oboist; in remembrance of my father, James Stewart St. John; structurally-based
upon our entire and magnificent solar-system; Oboe Solo [with quasi-improvisational amplified-voice] and Orchestra, with Flute &
Violin secondary-solos; in 3 continuous mvts; 25'00)
DEVIATION!     (1987; dedicated to my mother, Zennie Elizabeth Walker St. John; A Musical in Two Acts [24 Songs]:  Piano/Vocal Score;
Cast of 18 Characters - 9 women, 9 men; Book & Lyrics by British playwright George Edge; 4 scene-changes & lights;  2 1/2 hrs.)
DON'T CRY FOR ME,  DESDEMONA     (1988; dedicated to George Edge; An Operetta in One Act [13 Songs, in Tribute to Giuseppe Verdi
for Two Soprano-Vocalists [as 'Violetta' & 'Desdemona'] and Two Pianos: Libretto by British playwright George Edge; minimal yet
decorative stage-set & lights; 55'00)
WHERE YOUNG ADONIS OFT REPOSES…   (1990; commissioned by Echosphere II Ensemble; dedicated to my mother; texts of
Alexander Pope,Francis Beaumont,Aeneas,The Vedas, et al; Vocal Quartet: High-Tenor [or Counter-Tenor], Violin, Bb Soprano-
Saxophone, and Piano; optional lights; 15'00)
FRIEDEN     (1990; 'Peace'; to a better world for all people; Piano and Orchestra, with Choir of Sweetsouls: optional lights; 11'30)
MEIN  LEBEN IST WIE EIN GRAB    (1997; 'My Life Is A Grave'; for Joyce McWilliams, soprano; dedicated to our mutual friend, Mr. David Zea;  
text of Johann Wolfgang von Goethe, and composer; Vocal Trio: Soprano, Cello, and Piano; 13'00)
THE HIDDEN GEMS OF RUMI:     I. SILENCE,   FOR THE OYSTER SHELLS ARE PREGNANT WITH THE DIVINE PEARLS…
(1997-98; this music is coordinated with an original oil-painting of mine, "The Hidden Gems of Rumi"; dedicated to my parents; text of
13th Century Persian poet Mevlana Jalaluddin Rumi, and Johann Wolfgang von Goethe; An Epic Song: Quartet of Vocal Soloists
[Dramatic-Soprano/Mezzo-Soprano/Contralto/Bass-Baritone], Woodwind Trio, and Orchestra; optional yet preferred mini-set:
3 Circles of Souls, as embedded-pearls [18 Beings: 6 in each Circle] within orchestra-proper; lights; 10'00)
AH,  SWEET FEAST OF THE GODS!
[a bacchanalian delight of delectable delicacies for the soul of man, served at the table of the gods…]
(1988-89/1998-99; to the memory of Mr. Edward F. Goodman of New York NY; text of ancient sources & composer;
A Comic Musical Mini-Drama for 24 Performers: in 3 continuous mvts; 7 male-mortal Musicians, 7 male-immortal Actors, 9 female-
Muse Dancers, an Unseen male-immortal Bass-Baritone Orator [with tubular bells]; a gloriously-extravagant stage-set & lights; 20'00)
A CANTILENA ON THE FABLE OF AORNOS     (2001; text of ancient sources; A Lyric Poem: High-Soprano and Orchestra; optional lights;
10'00)
TWILIGHT AT LOCH  NESS     (2003; text of ancient sources, bible, composer; A Musical Passion-Drama: Contralto-Voice and Orchestra, with
Choir of Women & Instrumental-Trio of Harpsichord, Marimba and Cello; a Scottish lake-side scene at dusk stage-set & lights; 14'00)
IL MURO:   THE WALL
[an Epic-Plea:  for just one precious glimpse…]
(2005-06; for Deborah Kavasch, soprano; dedicated to the idealic personal pursuits of women everywhere; for my mother & the belief
she always has had in my work; many thanks to the St. Andrews By-The-Sea Episcopal Church: Rev. Rhonda Smith McIntire, Rector,
and Gregory L.Mulkey, Parish Administrator; much appreciation to Mrs. Arlene Rosen, in friendship; in memory of American composer/
violinist Arthur Cohn for his steadfast confidence & inspiration; text from "I Write, Desperately" of Jeannie Gayle Pool;
A Dramatic Psychological Music-Drama: in 3 extended phases [or 10 sub-phases]; Improvisational-Soprano Vocalist/Performer,
English Horn, and Symphonic Orchestra; with Hidden Chorus of Benevolent Souls and 2 sub-soloists of mandolin-player & carpenter
with sabre-saw; optional yet preferred extensive stage-set: 7 oil-paintings, each 6' x 6', covered-over and hanging upon large long
constructed-wall behind and extending beyond orchestra-proper; 2 lights: 1 large long flood-light full-length of wall behind orchestra-
proper, & 1 small round spot-light near English Horn sub-solo at right of conductor; 20'00)
A WAR DIRGE:  DULCE ET DECORUM EST PRO PATRIA MORI     
["it is sweet and fitting to die for one's country" from Ode II of Horace]
(2006; dedicated to the courageous fighting men and women everywhere placing their young lives in harm's way daily for the precious
sake of human freedom; text from "Dulce Et Decorum Est" of British soldier & poet Wilfred Owen, [1893-1918]; Dramatic Contralto-
Vocalist and Instrumental Octet, with Uniformed Military Musician with Field Drum-Obbligato; optional spot-light on drummer; 8'00)


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